Méconnue en France, la littérature fantastique espagnole est souvent considérée comme inexistante ou mineure par rapport à d’autres traditions européennes ou au fantastique latino-américain. Une forte présence de thématiques morales et religieuses au XIXe siècle peut contribuer à expliquer qu’elle soit placée hors du canon fantastique. La relation qu’entretient le fantastique espagnol avec la morale et la religion doit tout d’abord être envisagée au travers d’une étude du contexte socio-culturel, qui semble peu enclin au développement du genre. Dans un deuxième temps, nous porterons notre attention sur les différentes manifestations de l’hispanisation du genre : l’étude de la réception des textes étrangers ainsi que de la production d’œuvres nationales, telles que la légende, montrera les transformations subies par le fantastique en Espagne, notamment sa moralisation. Une perspective comparatiste nous permettra d’appréhender les phénomènes d’hybridation complexes qui configurent notre corpus de 1830 à 1890. Enfin, les implications de la cohabitation entre les poétiques fantastique et exemplaire seront étudiées. L’analyse des stratégies édifiantes et des illustrations sera complétée par des apports de la théorie psychanalytique dans une recherche de sens, par-delà les mécanismes exemplaires conscients. / Almost unknown in France, Spanish fantastic literature is frequently considered as nonexistent or minor, in comparison with other traditions from Europe or Latin America. A strong presence of moral and religious thematics in the nineteenth century can contribute to explain the fact that she is placed out of the fantastic canon. First, the relationship between Spanish fantastic and morality and religion must be considered through a study of the socio-cultural context, which seems reluctant to the development of the genre. In a second time, we will concentrate on the different manifestations of the hispanization of the genre: the reception of foreign texts, and the national production, as the legend, will be studied in order to show how the fantastic changes in Spain, in particular how it becomes more moral. A comparative perspective will permit to understand the complex phenomenon of hybridization, characteristic of the corpus between 1830 and 1890. Finally, the consequences of cohabitation of fantastic and exemplar poetics will be analyzed. The study of edifying strategies and of illustrations will be completed by psychoanalytical theory in a search of sense, beyond the conscious mechanisms of exemplarity.

KULLMANOVÁ, Katarína Bc.: Transformation of Golem in Popular Culture (diploma thesis) Charles University in Prague. Faculty: Institute of Ethnology. Supervisor: PhDc. Peter Janecek, Ph.D. Praha, 2015-08-16 The aim of the study is to outline the Golem legend, through the work of Alois Jirasek: Old Czech Legends (1894) a film by Martin Fric: The Emperor's Baker and Baker's Emperor (1951), which enables got Golem today's visually similar. Subsequent demonstration on how much above two sources affect people's perceptions on the topic. The aim of this work is also to show the gradual disappearance of the original legends of the 16th century and approach the area where the phenomenon Golem applied later: literature, film, tourism and the transformation of the 19th-21st centuries.

Cette thèse porte sur les codes sémantiques chez Ounsi el-Hajj et Georges Jurdaq en comparant leurs écrits entre le journalisme et la littérature. La thèse traite le rôle de la presse dans la propagation du symbole et du symbolisme dans le mouvement de la littérature. Ounsi el-Hajj et Georges Jurdaq se sont servi et ont profité de la presse pour pouvoir investir les symboles dans leurs essais. Ces symboles deviennent des moyens pour exprimer des intentions de traiter l’histoire, la religion, le mythe et le patrimoine. La thèse aborde les symboles et leurs significations chez les deux écrivains-journalistes ; le symbolisme ne se limite plus à la poésie uniquement en raison de l'ambiguïté qu’il entretient mais il la dépasse pour atteindre la littérature et en particulier la littérature de l’essai. / This thesis deals with the semantic codes used by Ounsi el-Hajj and Georges Jurdaq and it compares their writings between journalism and literature. The thesis deals with the influence of the press in the propagation of symbolism in the movement of literature. Ounsi el-Hajj and Goerges Jurdaq took advantage of the press to be able to invest symbols in their essays. These symbols become means of expressing intentions to deal with history, religion, myth and heritage. The thesis deals with the symbols and their meanings used by the two writers-journalists; symbolism is no longer restricted to poetry solely because of the ambiguity it maintains but it goes beyond it to reach literature and especially the literature of the essay.

Verbal Expressions of Reverence for St. John of Nepomuk in Vilém Bitnar's Saint-John- Questionnaire The goal of this thesis is a description of verbal expressions of reverence (legends, songs, prayers etc.) for St. John of Nepomuk in the Czech lands, which were collected by Výbor svatojanský in the questionnaire edited by Vilém Bitnar. This questionnaire was sent out to Czech and Moravian parishes at the occasion of the 200th anniversary of canonization of St. John of Nepomuk in 1929 and now it is deposited in the Literary Archive of the Museum of Czech Literature in Bitnar's estate. The mutual points in the questionnaire are seeked as well as regional specifics. These are situated into context of trends in religious life in the Czech lands in 1920s in general and also of relationship between contemporary Czech society and the Roman Catholic Church with reverence for St. John of Nepomuk. Bitnar's questionnaire is also situated into context of other Bitnar's scientific and publication activities. Keywords Hagiography; hymnology; St. John of Nepomuk; Vilém Bitnar; religiousness; legend; religious song; First Czechoslovak Republic

The relationship between narrative and game mechanics has been researched under terms such as ludonarrative dissonance, ludonarrative resonance and narrative mechanics. Yu-Gi-Oh! is a Trading Card Game which contains game mechanics that symbolically represents sections of the Arthurian legend. In this thesis the mechanics of specific Yu-Gi-Oh! cards were compared to the Arthurian legend. From this analysis were design guidelines derived, on how to represent a narrative with game mechanics. Game objects can be referenced by listing associated cards. The name of a mechanic can help in symbolically tell a narrative. The exclusion of a mechanic can also represent something. The conditions for a mechanic to be available is an area where narrative can be implemented. If a narrative mechanic is surrounded by many other mechanics, the symbolism can be “drowned out”. There is a balance between effective symbolism and a good game mechanic.

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<p dir="ltr">When one thinks of the medieval past, one might think of knights with their shining armor and swords; these are warriors. My dissertation seeks to examine and expose how “warriors” are gendered as masculine; a person or character categorized as a warrior might be assumed to be a man unless otherwise specified to be a “woman warrior.” The need for the qualifying adjective (“woman” or “female”) illustrates that the maleness of warriorhood and violence is understood as implicit. This governing assumption affects how women’s actions, particularly women’s violent actions, are interpreted. This dissertation takes women’s violence as a starting point, examining characters from Judith to Chaucer’s Dido. I show how and why the violence these women enact cannot be relegated to, say, maternal instinct or spirituality. The spiritual warrior is herself impressive, of course; she is a tool, a weapon of God, through whom God fights. The idea of the spiritual warrior then allows for discussions of women without painting them as inherently violent or aggressive. Instead, the spiritual warrior is the martyr, an extension of maternal instincts and the idea that women are caretakers and, when necessary, protectors. But these self-sacrificial ideals, often associated with maternity, are not, nor should they be, a requirement for womanhood.</p><p dir="ltr">I argue that in order to create a capacious enough definition of “woman” and even femininity, we must prize definitions of femininity from the grip of the patriarchy. What if we took these women on their own terms, instead? I seek to do exactly this: to examine, throughout this dissertation, both the ways that violent women act and what they say, without considering how their behavior might, nonetheless, be understood to conform to limiting ideas of femininity (such as the virgin or the whore). I thereby invite us to think about what it means when violent women enact their will on the world; and I also attend to the physical, in addition to the spiritual, effects of this violence (like killing someone). My work suggests that, in order to take gender seriously, we must pay attention to these moments when women hurt or kill either someone else or themselves.</p>

Since before recorded history, werewolves have captivated human imagination. Simultaneously, they represent our deepest fears as well as our desire to connect with our primal ancestry. Today, werewolves are portrayed negatively, associated with violence, cruelty, cannibalism, and general malevolence. However, in ages past, legends depicted them not as monsters, but as a range of neutral to benevolent individuals, such as traveling companions, guardians, and knights. The robust legacy of the werewolf spans from prehistory, through ancient Greece and Rome, to the Middle Ages, into the Early Modern period, and finally into present-day popular culture. Over the ages, the view of the werewolf has become distorted. Media treatment of werewolves is associated with inferior writing, lacking in thought, depth, and meaning. Werewolves as characters or creatures are now generally seen as single-minded and one-dimensional, and they want nothing more than to kill, devour, and possibly violate humans. Hollywood depictions have resulted in the destruction of the true meanings behind werewolf legends that fascinated and terrified humans for so many ages. If these negative trends were reversed, perhaps entertainment might not only discover again some of the true meanings behind the werewolf myth, but also take the first steps toward reversing negative portrayals of wolves themselves, which humans have, for eons, wrongfully stigmatized and portrayed as evil, resulting in wolves receiving crueler treatment than virtually any other animal. To revive the many questions posed by lycanthropy, entertainment must show respect to the rich history of the legend — and rediscover the benevolent werewolf. / Master of Arts / Since before recorded history, werewolves have captivated human imagination. Simultaneously, they represent our deepest fears as well as our desire to connect with our primal ancestry. Today, werewolves are portrayed negatively, associated with violence, cruelty, cannibalism, and general malevolence. However, in ages past, legends depicted them not as monsters, but as a range of neutral to benevolent individuals, such as traveling companions, guardians, and knights. The robust legacy of the werewolf spans from prehistory, through ancient Greece and Rome, to the Middle Ages, into the Early Modern period, and finally into present-day popular culture. Over the ages, the view of the werewolf has become distorted. Media treatment of werewolves is associated with inferior writing, lacking in thought, depth, and meaning. Werewolves as characters or creatures are now generally seen as single-minded and one-dimensional, and they want nothing more than to kill, devour, and possibly violate humans. Hollywood depictions have resulted in the destruction of the true meanings behind werewolf legends that fascinated and terrified humans for so many ages. If these negative trends were reversed, perhaps entertainment might not only discover again some of the true meanings behind the werewolf myth, but also take the first steps toward reversing negative portrayals of wolves themselves, which humans have, for eons, wrongfully stigmatized and portrayed as evil, resulting in wolves receiving crueler treatment than virtually any other animal. To revive the many questions posed by lycanthropy, entertainment must show respect to the rich history of the legend – and rediscover the benevolent werewolf.